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历史文化街区设计策略：安仁坊遗址博物馆和安仁车站

发布于：2024-03-05 09:17:05 来自：建筑设计/建筑方案设计 [复制转发]

安仁坊遗址博物馆和安仁车站

DDB 建筑设计

项目背景。西安是十三朝古都，拥有丰富的文化资源。始建于唐初长安城安仁坊的小雁塔（建福寺塔）现位于西安博物院内。因其特殊的地理位置和人文历史，被划定为小雁塔历史文化街区，见证了西安悠久的城市发展历程。

2018年12月，西安市启动了 "小雁塔历史文化片区综合改造 "项目，拟在安仁坊遗址内建立博物馆和游客服务中心，占地面积约1.26万平方米。在历史保护的整体规划中，设计的出发点是如何处理好建筑、古迹与城市的关系，让建筑与城市生活更好地融合，再现历史风貌。

Project Background. Xi'an, a renowned historical city of thirteen dynasties, boasts rich cultural resources. The Small Wild Goose Pagoda (Jianfu Temple Pagoda), which was built in Anrenfang of Chang'an City in the early Tang Dynasty, is now located within Xi'an Museum. Due to its special geographical location and history of humanity, it has been designated as the historical and cultural area of the Small Wild Goose Pagoda, bearing witness to the city’s long development. In December 2018, Xi'an launched the project called "Comprehensive Renovation of Small Wild Goose Pagoda Historical and Cultural Area", which aims to establish a museum and tourist service center in the Anrenfang heritage site, covering an area of approximately 12,600 square meters. In the overall planning of historic preservation, the design starts from how to deal with the relationship between architecture, historical sites, and the city, to better integrate architecture with urban life, and to recreate the historical features.

历史回顾--小雁塔（已列入世界文化遗产名录）、长安城的须作大街和八横街以及西安博物院共同构成了本项目目标区域最重要的历史文脉和空间体量。面对如此复杂的城市背景，谦逊最能体现我们对历史的尊重。根据遗址的结构和城市功能，项目需要与小雁塔周边的特色相协调。

因此，我们确立了以保留小雁塔和西安博物院原有风貌为核心，以新建博物馆和游客服务中心为辅助的设计策略。在这种情况下，三座建筑将面对面，并与该地区的历史和文化背景相呼应。

A Humble Historical Review - The Small Wild Goose Pagoda (included in the World Cultural Heritage List), Suzaku Avenue and the Eighth Cross Street in Chang’an City and the Xi'an Museum together constitute the most important historical context and spatial volume in the target area of this project. Given such a complex urban background, humility best reflects our respect for history. Based on the fabric and the urban functions of the heritage site, the project needs to coordinate itself with the surrounding features of the Small Wild Goose Pagoda. Therefore, we established a design strategy that centers on preserving the original features of the Small Wild Goose Pagoda and Xi'an Museum and moving the new museum and tourist service center to a supplementary role. In that case, the three buildings will face each other and respond to the historical and cultural context of this area.

通过对长安城建造理念的理解和分析，唐代的房屋概念被转化为城、坊、院的序列。建筑空间的组织暗示了遗址的位置，同时还加入了景观设计，以显示方形城墙的位置。这些造型都很低调，在 12 米的限高范围内有序起伏，与整体区域融为一体，巧妙地将其隐藏在城市之中。

Through the understanding and analysis of the idea behind the construction of Chang'an city, the concept of houses in the Tang Dynasty has been transformed into a sequence of city, square, and courtyard. The organization of the architectural space hinted at the location of the ruins, and the landscape design was also added to display where the square walls are located. The shapes are all low-profile, with orderly undulations within the 12-meter height limit, and are integrated into the overall area in a way that subtly hides them from the city.

开放空间的活力。除了展示和保护遗址，本项目的独特之处还在于与城市空间的紧密结合。古代的方形城墙、壕沟和方形庭院被转化为当代的物理空间，"方形城墙 "的历史功能通过比例匀称的景观墙得以展现，为公共活动提供场所，并成为展览的一部分。根据场地布局，体量之间的空隙被设计为入口通道。博物馆左侧的拾级而上的台阶将引导游客到达二层平台。即使博物馆闭馆，人们仍有机会从这个高度俯瞰小雁塔。

The Vitality of Open Space. In addition to displaying and protecting the ruins, the uniqueness of this project also lies in its close integration with urban space. The ancient square walls, ditches and square courtyards are translated into contemporary physical spaces, and the historical functions of the "square walls" are demonstrated with well-proportioned landscape walls, providing venues for public activities and becoming part of the exhibitions. Referring to the layout of the site, the gaps between the volumes are designed as passages for entrance. The ascending steps on the left side of the museum will lead visitors to the second-floor platform. Even when the museum is closed, people can still have the opportunity to overlook the Small Wild Goose Pagoda from this height.

在设计博物馆时，利用人体维度来感知遗址的空间信息，将遗址容纳在一个大跨度的空间中，促成遗址和博物馆两个 "大宅 "空间的互动。废墟上的玻璃地板确保了过去的场景既可视又可保存，而废墟之间的空隙连接则是参观路线。

这样，参观者就可以徜徉在历史的长河中，享受穿梭于古代和现代之间的空间错觉。此外，新的展示技术还有助于调动游客的身体感觉，从而提供身临其境的文化体验。

When designing the museum, the human body dimension is employed to perceive the spatial information of the ruins, containing the ruins in a large-span space and contributing to the interaction of two "mansion" spaces of the ruins and the museum. Glass floors over the ruins are used to make sure the past scenes are both visible and preservable, and the connection of gaps between the ruins serve as the visiting route. In this way, visitors can wander through history and enjoy a spatial illusion of shuttling between ancient and modern times. Additionally, the new technology of displaying also helps mobilize visitors’ physical sensation thus providing an immersive cultural experience.

简洁的建筑语言。我们从历史中获得灵感。基于遗址布局的建筑体块，结合唐代不同形式屋顶的元素，以及虚实交替的立面设计，自然而然地构成了我们自己的建筑语言，具有典型的 "当代中国风格"。

这样，博物馆和游客服务中心不仅可以很好地识别，还能与周围的历史风貌交织在一起。博物馆以中央围合的形式展开。核心大跨度空间采用梁式结构的玻璃屋顶，将主遗址的展览区完全包裹起来。几种匀称的屋顶组合与遗址的布局相呼应，同时也与传统庭院的特点相呼应。游客服务中心也由匀称的体量和屋顶组成。

Concise Architectural Language. We gained inspiration from history. The building blocks based on the layout of the ruins, combined with elements translated from different forms of roofs in the Tang Dynasty and the facade design that alternated between virtual and real, naturally constitute our own architectural language with a typical "contemporary Chinese style". Then, both the museum and the tourist service center can not only be well identified but also can be woven into the surrounding historical features. The museum is unfolded in the form of a central enclosure. The core large-span space is constructed with a glass roof with the Beam String Structure, completely wrapping the exhibition area of the main ruins. Several well-proportioned roof combinations respond to the layout of the ruins and at the same time echo the characteristics of the traditional courtyards. The tourist service center is also composed of well-proportioned volumes and roofs.

博物馆位于八横街的一侧，与另一端的展览馆相互对话，对长安城进行历史回顾。为了避免博物馆的材料与遗址的材料相混淆，新材料成为处理博物馆的当代性与遗址背后的历史和文化之间关系的适当媒介。

项目选择了钛锌金属板、实木格栅和玻璃幕墙作为主要的外立面材料。屋顶采用堆叠式哑光金属屋顶，再现了瓦片的传统形象。通过素雅细腻的材料质感，呈现出的历史感与遗址的文化遗存相呼应，营造出一种谦逊典雅的文化气质。

Located on one side of Eighth Cross Street, it dialogues with the exhibition hall on the other end, which allows for a historical review of Chang'an City. To avoid confusing the material of the museum with that of the ruins, new materials function as a proper medium for dealing with the relationship between the museum’s contemporary nature and the history and culture behind the site. The project chose titanium-zinc metal plates, solid wood grilles and glass curtain walls as the main facade materials. The roof uses a stacked matte metal roof to recreate the traditional image of roof tiles. Through the plain and delicate material texture, the sense of history presented echoes the cultural relics of the site, creating a humble and elegant cultural temperament.

安仁坊遗址博物馆和安仁驿站的设计目的不是简单地建立一个城市纪念碑，而是实现遗址与公众生活的高度融合。我们以谦卑的态度，建设一座与小雁塔历史文化相契合的博物馆和游客中心，相信它们一定会打造出集展示、教育、社交、人文历史体验于一体的故事矩阵。

The design purpose of the Anrenfang Heritage Museum and Anren Station is not to simply establish a city monument, but to achieve a high degree of integration between the ruins and public life. With a humble attitude, we have constructed a museum and a tourist center that match well with the history and culture of the Small Wild Goose Pagoda, and we are sure they will create a story matrix assembling exhibition, education, social interaction, and humanity history experience.